Please See This Film...

Even though this film is not accessible in a lot of cities, I wanted to write about it as I am deeply disappointing in the numbers it's received. We all cry and complain about the dreck (well, most of us) that is the Ice Cube and Tyler Perry empire, begging for something more and something different, and when it's right in front of us, what happens? It is virtually ignored.

I am speaking of the film "Night Catches Us", starring Anthony Mackie and Kerry Washington.

Since I've moved back to Oakland, I've had the very fine privilege of being around some original Black Panthers; the ones that were front and center when everything went down, both here and in Los Angeles. The vast majority of them epitomize the old saying "Still waters run deep". Silent, powerful, exuding the energy of all of the hurt, lessons, wisdom and knowledge that make up their being; and careful about the company they keep.

I would say this film is very much an allegory of that type of Black Panther personality, and it is fitting as it centers around two people that are former Black Panthers, struggling to get past their life-changing and disturbing experiences while in the party (Mackie and Washington).

That is basically all that the film is about. It is not an epic-type film (though they show original footage of the Panthers), but a slice of the very large pie that was/is The Panthers. And sometimes a slice is all we need to gather focus on a film's characters, and the beauty of the life it represents.

Kerry plays a civil rights attorney, seemingly having her old cohorts and her brother as her main clients. Her husband was tragically shot to death years before in a Panther strong-arm effort gone wrong. She has a daughter she's raising, and lives with a man who is apparently successful on a few levels. She has chosen to stay in the neighborhood where she's lived all of her life, because in some way, she still believes "the cause" will pick up where it left off.

Mackie is a former Panther that has been deeply branded a "snitch", and may have been the cause of Kerry's husband's failed attempt and ultimate death. He has left town years ago, immediately after the incident, and returns to tie up loose ends in the wake of his father's passing.

Without telling the whole film (which on the outside doesn't seem like a lot), the wonderful chemistry of Kerry and Mackie draws you in, and sneaks up on you, just like a panther. They have learned a lot of lessons over the years, and when they come together, even though the core of what they were is still the same, the changes they've been through have changed them as well. They represent in each other the idealism they once had, but slowly and carefully come together to overcome what their current differences are to get to something that is true and organic--something that has been missing from both of their lives: love.

Intermixed in this relationship is the background of Mackie still having to deal with his accusers (including Jamie Hector from "The Wire"), who haven't forgotten a thing, Kerry's brother's breakdown stemming from his deep disappointment in the revolution that never really seemed to happen, the easy comings of Black men in Black women's lives in the 70's and the decades beforehand (a likely offset of the way slavery set up the familial unit), and the very sweet burgeoning relationship between Kerry's young daughter and Mackie.

To me, this film is compelling, engaging, and involving. It makes you think, and definitely has very real-life parallels of love, friendship, and family, both the loving and contentious aspects of them. Some may feel a slow moving film that takes it's time to establish it's characters and get to the center of it's point may be boring. But guess what? This movie, just like a living former Black Panther, is selective about the company it keeps.

Black Cinema At Large Rating: B++. Ms. Invisibelle says check it out.




oh, and ps: the soundtrack by the roots is fantastic...this film is on cable on demand in many cities

Officially Replaces "The Wash" As Worst "Movie" In History...

I don't even know where to start. "N-Secure" is so awful that you find yourself getting angry with everybody and everything that had anything to do with this "hot, period-panty mess" (c. nOvaslim). Have you ever felt yourself getting pissed off that the film you're watching was ever made in the first place? I know I haven't before this; the closest I've gotten was all of those Roc/Damon Dash movies starring Beanie Sigel and Memphis Bleek that I can't even remember the names of now. N-Secure makes those films look like Steven Soderbergh flicks, straight up.

I can't even give this "movie" a review, cause there is no real plot or point. I implore you never to come near this one...kinda look upon it like venturing near Dracula's coffin at sunset. But if you don't heed my very sage advice, know that I am about to give away some "spoilers" (though I really don't think it will make a bit of difference in your experience watching it). Here is my impression of the "movie" in bullet-points, cause this sh*t left me too spent to write full-on thoughtful paragraphs:

* First of all, how do you cast someone in the lead that looks exactly like Professor Oglevee from "The Parkers"? He even had his same...ummm...."zest" ifyaknowwhatimean. That distracted me for most of the "movie". Why not get the real thing? I'm sure he would have worked for the same salary as dude whose name I do not know and have no desire to look up.

* This "movie" is about a man who is so obsessed in his love relationships that he will practically beat down a woman if she is 4 minutes late (yes, literally), uses a CSI type blacklight to check for any stains on the sheets, put a GPS tracking system on his girl's car, goes ballistic over a curling iron burn cause he thinks it's a hickey, and makes his woman sign a contract that she will not have any girlfriends and return his calls within 1 minute. Yet no woman wants to leave him because of his high life in material things. WTF is this "movie" trying to say?

* I don't really know anything about "Nephew Tommy", but I do know he's in the running to be this century's Mantan Moreland. Can we have one more cue for bugged-out eye reaction, pretty please?

* Can somebody please explain to me why Thelma from "Good Times" has a three minute throwaway cameo in this "movie"? Is she related to one of the volunteer P.A.'s or something?

* Imma need Essence Atkins to show us that she has more range beyond what she has shown us on "Half And Half". I love her, but dang!

* I believe that this is the first time since "The Cosby Show" that I've seen Tempestt Bledsoe's hair looking decent, though 90% isn't really hers ifyaknaowwhatimean. Sadly, her acting hasn't improved even a microdot.

* Ditto for Elise Neal.

* Where the heck did they get the music from in this "movie"? It makes a Lifetime movie soundtrack sound like high-concept art. I mean strictly "As The World Turns" circa 1968.

* Why is Lamann Rucker (the only male eye-candy) given top billing, only to be bumped off in the first 15 minutes?

To sum up everything, this "movie" is about an unreasonable man who goes through extraordinary and quite unrealistic lengths to keep a leash on his woman. That's it. No reason is ever given for this, except that he had a controlling father...I would like to think it takes a little more than that to turn someone into a psychopath, but who am I to know? Obviously the writers of this "movie" know more than we do. A lot more, apparently, as nothing in this script or anything else makes any sense...including why this "movie" was made in the first place and why anybody even bothered to show the f*ck up.

Invisible Cinema rating: Z-

To Like Or Not To Like? That Is The Question....

OK. So saw Tyler Perry's "For Colored Girls" over the week-end. I purposely didn't read any reviews before seeing it (though I really wanted to) as I wanted to view it from my own perspective. I thought about writing this review the same day as seeing it, but I was unsure how I felt about it.

The fact is, I'm still pretty unsure. I know for a fact that it is the only Tyler Perry movie that I have ever even remotely liked, but I'm not sure how much. I saw the play when I was a little girl with my parents. It was long ago, but I do remember certain things about it. I remember thinking while watching the film "I don't remember any men being in that play". Sure there was talk about them, but I didn't remember seeing any.

The other thing, which I think may be my biggest problem with the film (besides the bad wigs and make-up) was that I didn't remember it being such a joyless experience to watch. At the play I remember feeling uplifted, with a great deal of admiration for the women involved. I remember that being colored and a girl seemed like a very great thing to be.



It is obvious Perry did try very hard to rise above his limitations, but we eventually get back to the branded theme of "bad Black men are the root of all Black women's ills." I'm ready to admit that bad relationships are afflicting our community in a huge and negative way, but that, monolithically, is certainly not the root of a great many of our problems. I would place racism high amongst that list (which I don't remember being talked about on any level in the film), as well as poverty, fifth rate education in public schools, lack of concern for nutrition, no genuine leadership in the community, and a host of other reasons as things we are to examine to make ourselves whole in the world.

Another limitation that has kept me from really getting into Perry's films is a complete lack of subtlety. I remember that the play was beautiful, and though not all beautiful things are subtle (certainly not), that was the beauty of this particular play. It made you think, to solve the riddles of Ntozake Shange's verse and prose. In the film, the transitions from regular speaking to the lines in the play were jarring, and mostly clumsily handled. A couple of times I found myself thinking "what the f*ck is she talking about?" only to realize a few moments later that a character was speaking lines from the play.

I did not think it lessened the experiences that were to be learned by adding men into the mix. And of course, the prose had to be expanded upon to make the film less "play-like", because as a lot of my readers have let me know, they are not huge fans of straight-on plays on film...I didn't think that detracted from the original messages of Shange. It was beautifully shot, and the set design seemed to be thoughtful. Everyone gave close to amazing performances, with special kudos to Whoopi Goldberg (surprising), Phylicia Rashad, Thandie Newton (underrated), and Macy Gray (whom I always love as an actress).


But I could not escape the feeling of claustrophobia that set in for me midway into the film. The close, tight face shots; the small, cramped apartments--began to close in on me. In the beginning of the film it was expansive and full of possibilities; as the film progressed and the plotlines and characters started to begin to be involved with one another, I felt myself shrinking. As everything became smaller and more universal, instead of feeling identity in the close relationships and growth of these women, I felt suffocated, and thoughts of wanting to escape the film began to arise.

"How long is this movie?" "Why is it so relentless in it's sadness and anger and hopelessness?" "Why doesn't anyone move from this horrible apartment building?" "Why does Janet Jackson's face look like a Kabuki mask?" And so on. Rape, abuse, mental illness, murder, undercover homosexuality....why did I not remember all of that from the play?

When the film ended, I was relieved. I don't think I've ever felt that way before about a movie. But I have to say I was relieved to see the misery about the pain men cause be over, to not have to look at the dreary apartments anymore, and to not see Lorretta Devine's craptastic wig any longer.

And that is DEFINITELY not what I should have been left with. The meaning of "Colored Girls" is to give hope and good cheer, to let Black women know that everything we need in this life, and any other life, is already inside of us. To let us know that as long as we support one another is sisterhood, in creativity, in our awesome womaness, it doesn't matter what a man does, or a whole race, or the whole world. We have to, and can, support and hold each other up.

That was the feeling I was left with in the play. The film seems to be a lot less emphatic about those things. And those messages--in and of themselves, are what kept this from being a great film, and instead simply a great try.

Mish/Mash

OK, I know I said I was gonna post once a day about these old school films (which I still am), but I got caught up having to make a two day trip to San Francisco...I'm sorry, but I DO NOT miss living there....my hometown is falling to pieces on a non-tourist level.

Anyhoo, until I can git ta writin', I'll leave you with my beloved Sergio's opinion of "Just Wright", and a preview of a film that fell into my inbox. If you're looking for a film for the weekend, I highly recommend "Shutter Island", which I viewed online on the plane last night...it's the next best thing to Hitchcock. I have been giving Leonardo DiCaprio the side-eye for over a decade, and though I have liked some of the the films he's been in (Gangs Of New York, for example), I never thought he should be Scorcese's DeNiro replacement muse until this film. I actually think my man can act! lol. Well, here is Sergio's opine on "Just Wright" (and "Mandingo"):

I've seen Just Wright and it's a lame, totally predictable, tepid, boring film. And aside from the fact that you've seen it 1000 times before and can predict everything that's going to happen long before it does, it's TOO nice. King (yes I said KING) Latifah and Common play too of the most blandest, nicest, dullest people on the planet in the film. They're not human, but mannequins. I suspect that Latifah's character in the original script was sassier, tougher and rougher around the edges. You know, a REAL person. But I suspect she's had the script rewritten to eliminate any roughness, least people think that she's too...ahem...manly.

Common is the nicest, safest, NBA player in history. I mean c'mon a NICE considerate NBA player?? Here's an idea...what if the film had made him an arrogant, loud mouth, annoying person (with maybe a baby momma somewhere) to hide the fact that he's an insecure. lonely person afraid his glory years as a player has passed him by. You know a REAL person. And of course keep in mind that he eventually dumps Paula Patton over for the King in the film too. Yeah sure, that's real belivable But I understand this is a fantasy not real life. (Then again didn't he date Serena Williams for a while? Maybe's he's got a thing for mannish chicks)

The film is so lame that it resorts to the old worn out trick of a character (the King in this case) driving an old beat up car that NOBODY in real life would drive just to show that she's "quirky". I still think that film should have been the King and Paula Patton are involved in a relationship and Common comes along, they have a "three way express", he "converts" Patton and they leave off happily ever after. Now THAT would have been a movie.

BUT Mandingo. THAT MY MOVIE! Love it, love it, LOOOOVE IT! One of the still fondest movie going experiences was the first time I saw the film when it came out and there was this brother in the seat behind was doing this HYSTERICAL running commentary during the film and when it got tho the big sex scene with Ken Norton and Susan George (which lasted all of 30 seconds) he had me damn near on the floor rolling. The film is available though Legend Film label in restored widescreen and anamorphic too which you can buy on Amazon or other online video stores. Unfortunately there's no commentary or extras, but the film has never looked this good since it was first released. You know I've got a copy.

From IW: Not surprised about "Just Wright", but I will give my opinion on "Mandingo" over the next couple days.

Here is an independent Black film that came into my inbox; no message, no comment, no synopsis, no nothing--just a link--so I really don't know what to say. Anyway, at least you know there are those out there trying outside of the Hollywood System. Also, you can now sleep at night knowing that the milk carton alert for Joseph C. Phillips is official solved:

Wanna Talk Black Cinema?

Then please join me, Max Reddick, Rippa and Michele on Blog Talk Radio tonight, Sunday the 24th....we would love to hear your thoughts!

Blog Talk Radio – FTSR 1/24/10 9:00pm est – 60 minute show this week

Listener/Guest Dial In: 914/803-4881

This week’s topic: Is Black Entertainment Dead - Where did the nineties go? We had an explosion of music, movies, and television shows starring and written and produced by blacks in the nineties - where is this decades’ Love Jones, Different world and next Lauryn Hill coming from? is Precious this generation's Color Purple? Who killed Whitley Gilbert? Have all the Boyz left the Hood? The Jacks ain't New no more and no one is fighting the power. This week, Max, Rip and Michele wonder what happened to all of our 90s quality entertainment. Join us to discuss your favorites and where have they gone?

In Praise Of Precious....

This is a repost of a guest blog I did on my blogging brother Rippa, aka Rip Dem Up's spot: "The Intersection Of Madness and Reality". Please check him out...he mixes things up over there on a daily basis. Warning--he may piss you off and he loves to do that! PS Thanks to my new followers for doing so, tho I haven't posted in a millennium--love you!



I haven't blogged in a long time--it's not that I haven't wanted to, or had writers block, but somehow I couldn't seem to make the effort. Rippa challenged me to write my thoughts regarding the movie Precious, and the hoopla surrounding it, after reading my heartfelt tweets/anger about the sad folks that started a website to recruit people not to see the film. I mean WTF??

Listen people. I am what you would call the hugest Black Cinema enthusiast. I am completely involved in it every day, whether directly or indirectly via the internet. And for the life of me I cannot understand this backlash on Precious on any level--especially because the bulk of it seems to come from folks who've never even bothered to see it.

I have a blog on Black Cinema, entitled Black Cinema At Large...and on it we have discussed quite often and many times over the problem with Black film today. Most of the common complaints that I have read on my blog are actually addressed and handled beautifully in this film. Want some examples? Here we go:

All we ever get to represent us on screen is either a Tyler Perry film or a Black man in a dress.

This one is easy. Though Tyler Perry executive produced this film, there is absolutely no whiff whatsoever of any Perryism, and only real women play the women, and even 99% of them weren't wearing dresses.


1) Why can't we have a film starring Black people that is just a story? 2) Why do we always have film that puts our pain on screen?

The themes in Precious are universal. There are far, far too many people in the world that are suffering because of poverty and ignorance, not just us. Incest, poverty, and violence are real, in every culture, and happen every single day. Are they never to be addressed on film? This story could happen to anyone, and director Lee Daniels keeps the scenes involving the incest and violence to a minimum, if only just to show the challenges Precious had to break away from. The very focal point of the story is Precious' journey toward enlightenment from darkness. Would it have been easier to view if Precious was light, or was thin, or had long hair? Be honest when you answer that.


1) We are so tired of rappers and singers instead of Black Hollywood actors getting all of the roles in Black film. 2) We never get to see any up and comers given a chance, we see the same actors over and over.

Okay, so Lenny Kravitz and Mariah Carey are in it. But guess what? Their parts are small, and they actually added some good performances to the story. Lee Daniels made sure that they earned their place in his film--they were not missteps. The main roles are played by someone who has never sang or rapped, Mo'nique, and by newcomer Gabby Sidibe. As I'm sure you've heard or saw by now, both of these actresses put their FOOT in it. Even Paula Patton, who I've never been particularly impressed with as an actress, did an amazing job as Precious' teacher. The students, all unknowns, were completely natural and believable.



When we get a decent Black film made, it never gets any hype or publicity and fades away. All we are left with is coonery.

Ummm...even if you haven't seen this film, you know that it has gotten publicity in a major way, along with tons of major accolades. It broke box office records in it's limited release, and has slowly been expanded it all major markets. This film causes us to actually think, which Americans are probably not used to when watching a movie, and is a Black film that is completely coon free as well--can most wrap their mind around that?


The music and soundtracks in Black film are so awful--what happened to the soundtracks we wanted to buy in the 70's (and 90's)?

When I worked for The Studio That Will Henceforth Remained Unnamed, I was always saying that the soundtrack is an essential tool in creating and effective and compelling film. Daniels seriously knows the value in it as well, and weaves throughout the story added layers of amazing narrative through music; Labelle, Mary J. Blige (produced by Raphael Saadiq), Mahalia Jackson, Queen Latifah; all strong and talented women that came from humble beginnings. And he didn't take the easy way out by filling it with Lenny Kravitz and Mariah Carey.


The Black Hollywood elite never use their money or clout to back Black films.

Oprah and Tyler Perry? Nuff said



The fact is, if you are paying attention at all, you would know that Precious isn't all about pain, or being ghetto, or fathers raping their daughters, or Black stereotypes. It is about Precious breaking through a foundation of generations of ignorance. Her mother has no value for anything but the basest human functions--food, sex, and TV. Her mind cannot expand beyond what is happening inside of her house, and can barely expand beyond her own animal instincts and thought. Precious lives in the peripheral vision of her mother's mind, only to be recognized when she is hungry, angry, or horny.

The sheer weight of the legacy Precious has to handle, not alone her real weight, make her life almost unbearable. The only difference between Precious and her mother is that Precious has a small ray of hope (though she has no reason to), that she desperately clings to like a life preserver, hoping that one day someone will pull on it and lift her up. She escapes her real life through daydreams and fantasies, until the real life and daydreams start to meld. Yes, tragedy does bring her to a place of enlightenment, but isn't that the case with everyone on this planet? Isn't that why we're here? Does anyone learn anything from having it easy all the time? If you know someone like that, I would be interested to hear about it.

The ignorance of parents passed on to their children is absolutely real. I have been blessed in this life to have two parents that both have their master's degrees, and I have had some very hard and severe challenges in my life with both of them and in life, even on that foundation. But doing some volunteer work in West Oakland (historically a poverty ridden area for a few decades) years ago brought my awareness to a new level....I had always taken for granted so many things that the youth in the community had no knowledge of---the level of ignorance was absolutely crushing....it made me very sad, and very reflective for quite some time. Most of the sadness came from knowing that most of these kids were good, and had so much potential, but it would never be realized because these kids would never be able to move beyond the tools their parents gave them, which was barely above survival level. Most of them had never even been to San Francisco, across the bridge and only 4 miles away.


Precious was able to break free, and the joy of this film is seeing her journey--how when she hears her teacher and her lover speak, she says that "they sound like a channel I don't watch" and instead of being intimidated, strives to be more like them. We see her in a fantastic scene--where the images and sounds surrounding her from all angles; Malcolm X, Shirley Chisholm, the race and civil rights struggle--are slowly but surely chipping away her blindness. Her sheer determination and inexplicable force of will propel her to a life outside of the one she inherited, and though her life does not end up being challenge free, she is a testament that our lives are what we make them to be, and we are the ones solely responsible. And if that is cause for protest, then I got nothin'.

On an added note, anyone who knows anything about producer/director Lee Daniels knows that he consistently and repeatedly steps out of the box. I actually started my blog because of his film "Shadowboxer", because of the unfairness I felt is received from the critics. From that film (with elements of stepmother, son incest), to the very excellent and underrated "The Woodsman" (with pedophilia) to "Monster's Ball" (interracial love and sex) to Precious, Daniels creates images and themes that stir up a myriad of emotions in folks--admiration, reflection, sadness, excitement, anger--everyone has their own interpretation.....and after all, isn't that what art's ultimately supposed to do? If you can't support the content of his films, just be glad that something creative is being done by and for Black people--the studios are watching your every move!

To all of the people who still hate this film, and continue to be vocal about it, I invite you all to marinate on all of the recent studio greenlit Black films coming to a theater near you: Why Did I Get Married 2, Big Mamma's House 3, and Beverly Hills Cop 4---carry on!

For My Mighty Bay Folkes....

Both fantastic and fun theaters....for more info, go to the site for the Oakland Underground Film Festival HERE

h/t yeah i said it

Question....

Ms. Invisible is officially back in her element. I moved back to the Bay last year to be closer to family and close friends, but I knew I was only denying the inevitable move back. I am an L.A. girl, and that's it, period. You will reap the benefits by getting some first hand reportage on all things Black Cinema.

I missed attending the opening night of Spike Lee's "Passing Strange" at the Downtown Film Festival, cause I was still in the Bay (a movie that sort of adds to my theory I posted about using plays for filmed material). It is sort of a small fest, so not too much was jumping off for Black films...there is a documentary about Bill Withers that I may catch called "Still Bill" playing tomorrow. There is another film screening there called "The Soul Of Ashanti" which I am almost ashamed to say I first thought was about the singer Ashanti, lol. To my relief it is based in Africa.

Nice to see some quality films on the circuit, but some things never change, and it's getting tiresome. While Sergio and I were lamenting the latest debacle from The Wayans Brothers, a sequel to "White Chicks" (they had the nerve to say they brought it back "by popular demand"), he wrote this:

"I was talking to a friend yesterday and we got into this discussion about why do we see so much coonery going on by black people in the media and in real life in general.

I think, and my friend agreed, it's because many (most?) black people deep down inside truly believe that they're inferior, totally worthless. That they're not in any way as intelligent, attractive, or simply as good or equal as white people. Therefore they resist acting intelligent, rational or even if they have common sense because they're terrified that they will be revealed as frauds and phonies. So it's much easier to act the fool. And that goes for the Wayans as well.

That's why you hear black people criticizing other black people about "acting white" What they're really saying is "How dare you think that you're as good as a white person, because we're not so don't pretend"."

From IW: Hmmmm....interesting. What do you think, guys? And yes, that is Damon Wayans below in the blackface.

MMM (Mini Movie Marathon)....

Yeah, I know. I'm the ultimate slacker when it comes to posting. But you know one thing I never, ever slack on is watching movies. I think I set a record for myself over the past two weeks, watching everything from Bruno to Bye, Bye, Birdie (yeah, I watched it--don't judge me!). I'll give on overview of my experiences, and since not much is happening with Black Cinema, most of it is of the other kind....and lest you think I have absolutely nothing to do with my time, bear in mind that I watched most of these when folks are asleep, between the hours of 12am and 6am.

I definitely went on DiNiro overload, for real. I watched not one, not two, but three 3 hour Robert DiNiro odysseys; "Casino" (fabulous!), "Heat" (overrated, yeah I said it!), and "The Deer Hunter" (strange). I love Bobby D., he is always sooo cool and low key, even in Vietnam, as he was in The Deer Hunter. It was weird to see Christopher Walken looking young in it though, almost surreal.

Speaking of Christopher Walken, I also saw a film he was in called "The Dogs Of War" which I'm told is a classic. I tried to stay focused on the story at hand, but I wasn't too thrilled that the plot entailed just 4 white dudes taking out a whole African nation of brothers that were armed with guns.

Anyway, also saw the "hip-hopera" "A Day In The Life" which was written and directed by Sticky Fingaz, and I reviewed on Soul Sis-Star Reviews. The whole film, every single line of dialogue, is rapped. Yes. And that includes Michael Rapaport. I also revisited "Panther", which I will review as well...does anybody remember that Bokeem Woodbine used to be almost a real actor?

"Other" films I revisited were a Nicholas Cage flick called "Red Rock West", which is a cautionary crime-thriller about Karma kicking you in the back of your neck (very dark and trippy, like David Lynch), and a dark mystery called "Frailty" which was surprisingly good. It was directed by and stars Bill Paxton, along with Matthew McConaughey, who, to my huge shock, didn't get on my nerves even once. It is the story of a widowed father and his two young sons, the father one day saying he has been commissioned by an angel to slay "demons", the "demons" being folks in neighboring cities and towns, and also says his sons must assist him in slaying them...very absorbing--I recommend it.

Let's see...also saw "Isn't She Great" starring Bette Midler, in the supposedly autobiographical movie of Jacqueline Susann, who wrote "Valley Of The Dolls", and it seemed to take great liberties with her life. Also saw "Orphan" (don't ask).

I guess the ones the stuck out the most from the pack (yes there are more) were two pretty dark and twisted films--"Cruising" and "The Bad Lieutenant".

I remember my father taking me to see "Cruising", and only remembered it as a movie where Al Pacino went undercover as a cop going in the deep underworld of the gay leather club life. On reflection, I'm sure my father just went because it was Pacino, and had no idea what he was bringing me into. Pacino has to play a sort of gay hustler to find out who is murdering those that are part of the leather lifestyle. I did some research on the film, and at the time it created quite a stir, narrowly missing an "X" rating. The gay community was supposedly furious at the time, saying that it perpetuated fear and stereotypes about the gay lifestyle. These days, however, they show the film proudly at festivals...so there you go.

"Bad Lieutenant" is about a cop that has gone miles beyond corruption, much less anything that resembles human, played by Harvey Keitel (full frontal nudity alert!). It is filmed in a very late sixties, early 70's style of filmmaking, though it is from 1992. Keitel to me is part of that 70's, 80's cool that included the others I watched in this post, DiNiro, Pacino, Walken and more recently, Joe Pesci. He goes through his day, sexing and drugging it up to feel anything at all; being a cop is a very minor part of his day...he even steals from the people who steal. He is called in to investigate the rape of a nun, and the film just gets progressively darker, and disturbing, and hopeless. There was only one way for it to end, and it does end that way...check it out if you don't have an aversion to sex, drugs, and violence set in a backdrop of religion.

After the darkness comes light, that light being "Bruno". I absolutely loved Borat, so I was expecting great things...don't you make the same mistake (sorry Sergio).

When I look over these films, there does seem to be a commonality...most of them were directed by those who at one time or another considered the "bad boy" directors; William Friedkin (The French Connection, The Exorcist, Cruising), Abel Ferrara (Bad Leiutenant, King Of New York), Martin Scorsese (The Godfather, Goodfellas, Casino), Michael Mann (Heat, Hancock, Miami Vice), Larry Charles (Borat, Curb Your Enthusiasm, Bruno) and the big bad boy, Michael Camino (The Deer Hunter, Heaven's Gate, The Sicilian). Get a film by any of these directors, and trust--there may be a miss or two, but it will never, ever, be boring.

Feast your eyes on a few trailers:

Kettles, Robots, and Swimming in "Post Racial America"....

I think it's safe to say that our infatuation with the promise of a "post-racial America" is officially way over. Not that I ever bought into it, for sure. Much about race is bubbling up these days, and while a tiny bit of it just has me shaking my head, the rest of it just makes me wanna kick somebody's ass sometimes. Like Field Negro said, it's just exhausting trying to keep up.

What leaves me going "whatever, dude" is pot/kettle Quincy Jones' non-revelation about Micheal Jackson "wanting to be white". "Have you seen his kids?" he asks in an interview. Wow. This from a man who I've never seen date anyone darker than a Sunset Spray Tan, and whose daughters can pass so well they actually get work in Hollywood. This is who he was with in Europe instead of attending the funeral of the man who made him zillions:



Speaking of Micheal, spotted this on my blogging buddy Eric Easter's site "Big Ideas" from Ebony/Jet.Com. It is a video of Sammy Davis Jr. comparing himself to Michael Jackson on Arsenio Hall, and ends up being something close to a confessional on race. Sammy goes in a few different directions, but you can see and feel the pain this immensely talented man went through, and he used that talent to navigate his way through a tragic life, just like Mike. It was his shield, just like Mike. Oddly Sammy was the only other celebrity besides MJ that made me cry when he passed.




What makes one want to put foot to ass is the situation in Philly that most have heard about by now, where a group of children were denied entry into a swimming pool because it was feared they may change "the complexion" of the pool area. Yes, the fools that run the joint actually said that.

I am not surprised, however, as the same thing happened to me as a kid. My family and I took a road trip to Canada, and in one hotel in Washington state we went swimming. When we went in, all of the YT's promptly got out. I saw one kid crying to his mom "Why can't we swim? I want to swim!" and his mother hissed at him to "shut the hell up". When I asked my mother if everyone got out because of us (it was even obvious to me as an 8 year old), she said "don't worry about it, there's just more room for us to swim now". And being a kid, I promptly forgot about about it. But now that I know better, I'm sure she felt all of the pain, hurt, and frustration those kids in Philly felt, and what made it more ridiculous is though Black, she is the same skin tone as those who got out. I am grateful she made light of it for my sake, so I did not feel what she felt too.


And finally, a cinema related statement on race; a post that my blogging soulmate Tafari did for The Afrospear, which he relayed got him a lot of heated haterade comments:

"Yesterday, I made it a point to go see “Transformers: Revenge of the Fallen” in IMAX. Ever since the last Transformers theatrical release I had been giddy for more.

Hours before I headed to the movies, I started reading posts online that discussed racism in the movie but still I pressed on to Showcase Cinemas and dropped $10.50 for my ticket.

Fast forwarding 2.5 hours later. I’m walking out of the theater with my mind blown for many reasons; 1st, the movie was so action packed I thought I was going to slip into a seizure. 2nd the movie was overtly sexual, which made it seem like an R rated movie instead of PG-13 and 3rd the racism that was built into the movie was billed as comedic relief.

As I drove home, I tried to reconcile the racism but I could not, so I decided to sleep on it.

So this morning, when I woke up, I actually got mad about what I saw in “Transformers: Revenge of the Fallen.” The racism that I’m talking about in case you don’t already know is dealing with the Autobot twins “Skids” and “Mudflap” or the “ Little Black Sambo[ts].

1. Both of the twins talk like they are straight from a Lil Wayne video.
   
   
2. They play the dozens (crack jokes on each other and anyone else) in every scene.
3. They are seemingly proud of the fact that they cannot read. “Read?! Nuh-uh…” “No, we don’t really do much readin’!”
   
   
4. Skids has a GOLD front tooth. Yes, a big bucked out gold tooth
5. The names “Skids” and “Mudflap” imply darkness and or nastiness.
   
   
6. Do I really need to add a 6th, you should get the picture now.

(Wait, for extra measure, if you want to see another relevant countdown list, you have to read this. “7 reasons why Transformers 2 might be racist…”)

With all this now parsed out, I’m wondering why and how this stereotypical bullshit slipped past Michael Bay and Paramount Pictures. Did they care? Did they know? Did they think it was ok?

I feel bad and torn because I actually liked the movie a lot, but how could I in good conscious? Maybe it’s the kid in me remembering watching the cartoon way back in the mid 80s.

Although the racism pisses me off about this flick, I was also disturbed about the adult content and overt hypersexuality. But like I said, I liked the movie, so what does this mean about me?

I know I won’t see the movie again, nor will I purchase the DVD. I do not want my kids seeing this mess and not only that it’s so not a kids movie. Don’t let the PG-13 rating fool you!

Transformers used to be all about the kids way back when, but not so much now thanks to Michael Bay and Paramount Pictures. I’m just saying.

Side note: This post is not nearly what I wanted it to be. Not at all! My thoughts are with and on Michael Jackson. As I wrap this up, I’m chair dancing to “Off The Wall” while I try to control my urge to cry about a man that reached my soul through song, dance and beauty."

From IW: Why am I not surprised that Mike Epps was the voice one of those coontastic robots?

Update: OK, I was misinformed. It wasn't Mike Epps, but one of the voices was YT Tom Kenny, who also voices Spongebob Squarepants :-(

When It All Falls Down....

I think I ruffled a few feathers not too long ago when I stated that "age was the enemy" on the post I did on Jimmy "J.J" Walker and Boy George, alluding to their rapid deterioration and alarming visages. Some said "It's not age, it's lifestyle!" True, that is a factor, but you can be the exercisinest veganist vegan, and it all hits the end of the road somewhere. I started thinking of this subject for several reasons...the first one being this:


That these two that practically anyone, at any time, at any place, would have smashed in the 90's end up looking like Michael Jackson's unholy apprentices. I just don't get it. NOTE TO HOLLYWOOD: Make a beeline to whomever works on Halle Barry and Jennifer Lopez and call it a day! Those two should be the only working plastic surgeons in the world. Period.



Yes, age is devastating, as was witnessed on the "American Idol" disco medley the other day. Much has been made of how "ancient" the guests were, but if any of the readers of this blog look like Freda Payne (67 in Sept), or Thelma Houston (63 in a yellow dress showing a massive amount of leg) at their ages, please let me know. As for KC of KC and the Sunshine Band....well, let's just say he is dealing with a numerous amount of the white man's burdens.





Another example of the perils of aging is the disappointing film I watched the other day, "Original Gangstas". I was very happy to live with the memory of the fine-ass (and I do mean ass) Fred Williamson, aka 'The Hammer' from the 70's, and this film was an unwelcome jolt of reality. It is a vengeance movie that brings together Williamson, Jim Brown (wearing this life's most unfortunate kufi to cover an even more unfortunate bald spot), Ron O'Neal (Superfly, looking like the cashier/weed dealer at your nearest bodega), Richard Roundtree (Shaft), and Pam Grier (Foxy Brown, with hair looking like it hasn't seen the working end of a flat iron for several decades). You would think bringing together the most iconic icons of 70's Blaxploitation would be the sh*t, but sadly, I was left wishing everyone would have just rested on their laurels, and all I wanted to do was hand out Restalyne and Ab Rollers to everyone involved :-(




But there are other things that can cause it to all fall down, most prolific being stupidity. Rapper/actor Xzibit is about to lose his house to foreclosure, after 100 years of "Pimp My Ride" and it's reruns. Terrence Howard is still whining about losing his part in "Ironman". Ummm....T? Everyone involved with this film has been a professional for years. You mumble, sleepwalk, and use your "quivering voice" at dramatic pauses, then proceed to jack your price up sky high? That is exactly why you are in some fucked up movie called "Fighting" with the other weirdest Black man in Hollywood, Roger Guenveur Smith, who is probably your doppelganger, and playing second fiddle to Channing Tatum, whoever that is. Maybe you can pick up where Wesley Snipes left off.

A loooong way from wearing Ironman's suit of armor, yes?



Stupidity coupled with being low budget is definitely the way to make it fall down. Idris Elba now refuses to do press junkets and attend the premieres of his masterpiece "Obsessed". Negro, you were on "The Wire". Did you even read the script for this POS? I'm assuming not, as it surely would have ended up in "the circular file" as my grandfather used to say--aka the wastebasket. Don't act all brand new now. What did you possibly hope to accomplish starring opposite Beyonce and Ali Larter, in a film that was produced by the dude that did "3 Can Play That Game?" Falling down, dude. Hard.



But nobody has fallen as hard in my recent memory as this next one. I watched a bootleg (yes, I'm going to Heck) of "Single Black Female", which is without exception the very worst film ever made, ever. It looked like it was filmed on a 1999 Nokia phone, yet I was could not stop watching it. I was completely transfixed by it's unbelievable horribleness--I think I was hypnotized. Beyonce can make a thousand "Obsesseds" and it wouldn't even come close to the stench of this flick. It "stars" Farrah Something Or Other, who used to be in Destiny's Child, and obviously that will forever be the zenith in her life till the grave. Yes, age is no joke, but combine being stupid, low budget, AND talentless and there is nowhere to go but down. Behold:




So I stand corrected, age is not the only enemy, but it is still definitely in the top five!

This N' That...

Hey all...I am free from a contract gig that was taking up an immense space of my time and energy...but hallelujah, I free! Which in turn, leaves me more time for my precious blog--aren't you lucky? lol

How about a little movie news, yes?

First up, I don't know what to make of Isaiah Washington. He was kicked out of his house for non-payment of rent. He was on Grey's Anatomy for a few years, wasn't he? What do these folks do with all of those juicy dollars? Damn. But things are looking up for him--he is doing a biopic on the life of Lou Rawls, which I think is wonderful, cause I never felt Lou received his proper due. I think Isaiah is a very interesting choice.


What isn't interesting to anyone, apparently, is the halted biopic of Lionel Ritchie, who was deemed too boring. Dang! He must have had a couple of interesting moments leading The Commodores and getting a karate chop beat-down on his ass by his wife. I'd like to see that.



Ntozake Shange’s play, “For Colored Girls Who Considered Suicide …” is being made into a film. I saw this play when I was a little girl, and don't really remember it, so I am looking forward to it. The film also has a Black female director, Nzingha Stewart. Kudos!


In YT cinema news, I saw "A Haunting In Connecticut", please don't ask why. Perfectly awful, of course. What is even more awful and disturbing is a big screen "3 Stooges" movie with...wait for it.....Sean Penn as Larry (?!), Jim Carrey as Curly (not a stretch), and Benecio Del Toro as Moe (??!!) I mean, really, WTF! This idea just makes me sad inside, especially the part about Sean Penn...just one more in the long line of making stupid choices after winning an Oscar.


Speaking of sad, King Latifah will be in yet another romantic comedy, "Just Wright". **sigh**



I received a note from the head of the Wichita NAACP, Kevin Myles. He said:

Hey Sis, You may want to check this out... The NAACP is asking people to rate the 100 most influential films of the last century. As I was looking through the nominees it was exciting just to go back and watch the trailers from all of my favorites from the last 40 years... Here's a link; check it out: http: / / www. wichitanaacpblog. com/ 2009/ 03/ naacp-top-100-films- of-century-1909_17. html


Check it out folkses, and vote as you see fit. I want to give some Oaktown love to filmmaker Mateen O. Kemet, whose work I will be following closely. He was on the series "On The Lot" and has this lovely trailer for a film he's working on, called "Oakland B Mine". Let me know what you think:




And finally, check me and my comrades out on last night's Obenson Report podcast. It was a bloggers roundtable on what else? Black Cinema. I joined Daryle Lockhart at "The Black Box Office", my beloved Sergio from Ebony/Jet, Solshine from "Reel Artsy", and of course Tambay Obenson. If you'd like to hear us chop it up, click HERE.



Thanks to the wonderful Issa Rae for some of these tidbits...

7 Questions With Black & Sexy Director Dennis Dortch...

There is one thing that really burns me, and that is folks that put down or discourage the dreams and aspirations of others. There is nothing more disheartening than sharing your thoughts and ideas with someone, only to be told that they are ridiculous and unattainable. To which I say this: Completely consider the source: A) Is this a person you would gladly trade lives with? OR B) Does this person lead a life that you admire and/or respect? If the answer is no, grains of salt, my friends, grains of salt.

One of my favorite things to do on this blog is to interview those I find interesting. The people interviewed here wholly deserve the attention and accolades they receive, as they are independent thinkers, free from the constraints of the conventional world. They learn from mistakes and experiences, and, most importantly, they are willing to share what they've learned with others. They are hustlers and sages, and I learn amazing life lessons and get inspired by each one of them; I hope you do too. Here is the latest--"A Good Day To Be Black and Sexy" director Dennis Dortch, a definite welcome addition to the halls of the new Black Renaissance in film...check it.

Question #1

The landscape is so barren on Black love/sexual situations in movies. I know you have been asked this many times over, but what gave you the idea to make this film? Who or what has been your inspiration in filmmaking? (That is really two questions--I'm cheating a bit)

Life. Real life. Our daily pursuit for happiness in love and sex drives and affects most of our decisions in life. We are living it everyday. These are basic human needs that find our white counterparts with oogles of quirky movies on the subject. When it comes to us, suddenly it's different even though we are all human beings with the same desires and needs. When you do see us in any sexual situation in a movie (especially a mixed cast movie) - we are either raping, overly sexually charged, or getting no ass whatsoever. Nothing but the extremes and nothing in between. Keep in mind that anytime you put a black person on the screen (esp. a black man), whatever they are doing or portraying holds much more weight. Put a gun in their hand, show them dead, show them running from the law, in court, or playing the President of the US or God, or Jesus, or simply having sex, it's suddenly a little bit heavier. Where our white male counterpart is just doing something as an action, the black counterpart becomes that *something* they are doing.

I think the second part of that is black folks are kinda prudish. I mean the West is sort of prudish overall compared to our European counterparts, but we all love sex but we just don't want people to know we love it. That's why the porn industry is booming. It's all about secrecy, so it carries over to the big screen and the lack of content on the subject. I've been asked plenty of times, why would I want to make a film just about this stuff? Like a porno or something. This usually comes from a woman. Deep inside, I'm thinking this person is probably a freak in bed, but a lady in the streets. Simply, I wanted to just get at the things we are doing and feeling today and tomorrow, and the next day in a realistic presentation.

To answer the second part of your question, it's almost the same answer... Life. Real life. Women are an inspiration especially. Sometimes I just want to talk to you. And film is an extravagant way to communicate. You ever had an argument with your significant other and you wish a third party was present so that they could validate your point of view or judge who is right or wrong in this situation? Cause you feel the other person is clearly not listening to reason. You just want someone fair and non-biased to call it. Making a film is like creating that opportunity for a third party assessment. I'm simply telling on someone, including myself.


Question #2

The visuals were wonderful in the film, and the performances from the actors are truly on point--very natural and affecting. What is your primary focus when you direct a film? What emotions and thoughts are you trying to elicit from the audience?

My primary focus is sensuality and naturalness. To capture those fleeting real moments in life that we all have experienced but never have captured on film. The actors are bringing a piece of themselves to the set. We discuss their own experiences related to the subject and pull from there. My cinematographer Brian Ali-Harding is by heart a documentary filmmaker. His style is pure cinéma vérité. We have been making films together since college focusing on real human emotion and moments not artificial movie moments and over-dramatic fake movie emotions. You put these two factors together and like peanut butter and chocolate, you got black and sexy.

My goal for the audience was to create some connectivity. If you watch the film and identified with something that's happening on the screen either by knowing this person in real life or applying a past experience you, yourself had, it feels real. You then feel connected.

Question #3

The title of your film "A Good Day To Be Black And Sexy" was sure to stir up attention. Was the intention to make people take strong notice? Were you pressured to change the name by anyone?

Yes, I wanted the marketing of the film built in to the title and live on beyond it. It was always a brand to me. More than one film with many spin-offs and connected lifestyle products (clothing, music, etc.).

Yes and no to your second question. Someone very close to the film tried to convince me to change the stories to match what they perceived the title to mean.


Question #4

You made some unknown casting choices and filmed on a limited budget, and your film turned out to be one of the most interesting pieces I've seen for some time. As advice to some of the filmmakers who read this blog, how does one get a feel that they are moving in the right direction on a project? How does one garner support from those inside the film and outside of it?

The first question is what is the definition of the right direction? For me it is when something affects you or intrigues you. You have to be your own guinea pig and be affected before it can transfer to someone else. Trust yourself and your instincts and the people who are supposed to be attracted to your project will find it and support it. It's just energy and there is not trick in it. Just truth and honesty.

To go further, don't pay attention to the haters. There will be a lot of them. It's not that they mean you direct harm, but they have so much self doubt in themselves, and misery loves company. I was told that I was crazy to take the money out of my house to finance this feature. I was told that my script was a porno and no one would want to see this. I was told that no company would want to distribute a "black art film." Those types of films are reserved for white people. If you have a strong vision and it truly makes you excited just thinking about it, then there is a good chance that excitement will transfer to someone else watching the film that you made from that inspiration. Everybody may not like your film, but your job is not to please everyone. That is an elusive goal.(from iw--amen!)

As far as gaining support, just do your thing. Most people just talk, very few actually do. It's not easy. It's takes a tremendous amount of focus, perseverance, and unwavering faith. Making a film and expecting a company to buy it and in turn people pay to watch it is not a solid business plan. It's crazy actually. So, when someone does it and breaks through, the law of attraction takes over and the support trickles in. It's still a struggle after you initially get that attention. Support is a fickle thing, trust me. It's really up to you to build on it in a timely manner.


Question #5

A subject that comes up here quite often is the dissatisfaction with what "The Hollywood Machine" is producing in the way of Black Cinema. What, in your opinion, can the public at large do to change things? (Everyone gets asked this question, btw)

If we collectively stop supporting the bullshit, the bullshit will disappear. It's about natural selection. Hollywood is not against making money any way they can. But really, you have to ask yourself, why would white people collectively give a damn about what we want as black folks? They are too busy trying to get what they want. Our wants and needs are our problem. And we dictate what gets put out there every time we spend money on it.


Question #6

Tell us what projects you are working on now. Anything we can look forward to in the future?

The big project launching next month is what we are calling Black & Sexy TV. An online portal for black content from my team. The first out the gate is a spin-off web series from the film called BLACK & SEXY B-SIDES. We are basically expanding on the world and characters created in the film in 2-6 minute episodes online. Plus we are creating the sequel to the film tentatively called A GOOD DAY TO BE BLACK & SEXY: NEW YORK CITY.

Outside of Black & Sexy, I have a feature I'm currently writing that I'm real quiet on, but I'm real excited about. That's why I'm not saying anything really. You gotta stuff all that excitement and desired to blurt out the story into the script.


Question #7

Any thoughts or advice you would like to leave for the readers?

I guess this would go to the filmmakers...Distribution. Most filmmakers (including myself) look at obtaining distribution as the end-all and be-all goal. But that's really just the beginning. And we spend a lot of time stressing on the things that don't even matter in the end, when the real important things have slipped past us a long time ago. The great thing about making your own film from your own money is you have all the control. Suddenly when you get distribution, you see most of that control taken away. The biggest beef a filmmaker will have is how his/her film is marketed. And really it's just a divide between your goals and your distributor's goals. If you can identify what their true goal is, then you can better manage your expectations if you decide to sign with them. And you need to figure out what it is you want and how that fits in the current climate of the film industry. I stumbled upon a quote in a magazine on an airplane trip one day that said it all: "You don't get what you deserve, you get what you negotiate."


From IW: "You don't get what you deserve, you get what you negotiate." Truer words were never spoken, for reals! A phrase to live by folkses, and completely consider the source. Below is the new trailer for "A Good Day To Be Black and Sexy"--please add to your Netflix cue or get out to your nearest video store and support our new Renaissance....